Tag Archives: sex

Morning. Single-digit AM. I’ve been fighting monsters for the last half hour. Kill the red spikey one ONLY to impress the busty nurse floating on an oversized syringe. She’s a real-life blood drawing nurse, ya know. You should feel honoured to be in her presence.

I’m playing Killer is Dead.

“She Will” by Savages is playing in my headphones.that good time loving harlot…

I’ve failed my task enough times to break out the music. This is now a task that I will repeat until the kinetic rhythm embeds itself into my muscle memory.

sometimes when i am a lover i am a fighter
a punch, kick, slap, biter
sometimes when i love
i am a lover in violence
sometimes when we play
i am king, she is queen, she is princess
sometimes when we play
she is queen, i am prince, i am princes
sometimes when we dance we tread upon intention
knees kiss earth
her kisses held in tension
sometimes when i am a lover i am animal
lips, neck, breasts, legs
i am cannibal.

Like this:

Spring Breakers is a movie that makes it hard for me to divorce my distaste for the subject matter from the film itself. The ritual of party excess that makes up spring break and the college lifestyle has never appealed to me, and by necessity the film is something that absolutely revels in it. Opening with and repeatedly returning to montages of slow motion debauchery, the movie is undoubtedly aiming to draw in the party crowd that revels in much of the same.

Fine. Whatever. While at a base level I can enjoy the voyeuristic appeal of it, it’s not enough to sustain an entire plot. Enter the main characters, a group of college girls looking to get away from the mundane reality of university and escape to color and life of spring break. Selena Gomez plays a Faith, who, if her name hasn’t tipped you off, is “the good girl”, heavyhandedly shown by her attendance at prayer group and the cross she carries around. Her casting her feels sadly predictable. While she doesn’t seem to be fit for any of the roles of the other girls, the role does little to help her break away from the good girl teen star persona that she inevitably built with her previous roles, particularly the Disney channel ones.

Vanessa Hudgens, Ashley Benson, Rachel Korine play the rest of the girls, each an interchangeable party girl with a loose sense of morality. These characters are equally as telegraphed, with nearly every shot of them having them engaged in some form of debauchery, and Faith’s peers from the prayer group making ugly comments about them. Nevertheless, Faith is old friends with them, and is heart set on breaking out of the monotony of her life and seeing something different. When they find that they don’t have nearly enough money to make the trip, the three girls put on their “bad bitch” personas and independent of Faith rob a diner with realistic squirt guns to get the money.

Things go south when they reach Florida, and not only in terms of location. After an initial wave of partying and bonding, the girls find themselves in jail and subsequently get bailed out by “Alien”, a local gangster and amateur rapper, played convincingly by James Franco, who then ropes them into the criminal underworld.

Franco’s portrayal of Alien is problematic, as while he convincingly steps into the role of Alien, the character himself isn’t that likeable. Alien comes from a rough background and as he explains it, “your typical story,” and that’s the character in a nutshell. While he later shows off his human side in his own way, Alien is a person obsessed with the gangster lifestyle to the point of becoming a caricature of it. Drugs, money, girls, and guns all present. His speech is also perfectly over the top, with some verses thrown in for his poignant moments which provide a facsimile of the empty lyrical style that gangsta rappers, especially amateur ones, put out.

The criminal underworld itself gives the movie a feeling that brings to mind the atmosphere of Drive, which is further accentuated by the similar Florida location, neon night life, and soundtrack provided in part by Cliff Martinez, who also contributed to Drive. This time however, the underworld is visualized not through a mafia lens, but one of gangsta culture, its worship of excess crossing over naturally with that of spring break. Like Drive, Spring Breakers uses this push into underworld territory to not only raise the stakes but to also push the characters to a state where they must confront their flaws and inner desires. Faith is predictably the first to go, unsettled by the affections of Alien and his foreign world, which leaves a significant part of the movie to focus on the exploits of Alien and the rest of the girls. The further escalation causes one of the other girls to leave as well, while the other two become further absorbed into their bad girl personas.

Like the girls themselves, the film seems to be caught up in a desire to capture and freeze the spring break moments forever. While the repetition of various visuals and sounds provides a contrast between different points in their trip, eventually it begins to wear thin. Constantly flashing back to drug and alcohol hazed party scenes and Alien’s wistful chant of “Spring break. Spring break forever,” this desire becomes almost obsessive and ultimately causes both the characters and the film itself to break down.

Too much time is spent obsessing over the haze of debauchery that it becomes dead space in the movie, empty time in between moments where the plot final begins to move forward. It’s a shame, because underneath the initially shallow premise there are glimpses of what the movie could have become, if only the heavyhanded treatment of the themes and lurid obsession with the subject matter had been dialed back a bit and focused. Spring Breakers brings such a strong visual and aural treatment to what is essentially an empty story.

Like this:

I can never hurt him. I throw my fists at him, kick him, swear and yell until my chest is stinging with sharp agony. Nothing. He stands and laughs in the haze of half memory, looking down upon me. His arms are against my shoulders, knees to my legs and his body pinning down mine. I’m slip my shoulder. I ‘m going to take my swing. One last ti–

“GODDAMMITTHATFUCKINHURT!” I wake up sitting straight up in bed, fist outstretched, shoulder hot with anger and pain. Cass is straddling me, face turned away, hands grasping at her jaw trying to contain the pain. “Damn, V. You could have just told me you didn’t want to get up.” She turns back to me and her expression softens. “Having the dream again?”

“I think so. But who knows, maybe my body was just reacting to you trying to rape me.” She smirks at me and I grab her wrists and twist her under me. “Shame on you, trying to take advantage of a girl while she sleeps. I think maybe I should show you what it feels like.” She mockingly mouths horror at the idea before slipping out of my grip, collapsing me on my side and punching me in the boob as she rolls out of bed.

“Nice try, Evangeline, but last time I checked you didn’t have the equipment, or the balls to do it.”

She slips into the hall and I give chase, following her to the kitchen where breakfast is have laid on the table. “Neutral ground!” she sputters from the other side.

“Uh-huh.”

I pin her between my arms against the counter, rattling the sugar jar as I press my forehead against her and lock my gaze onto her sky blue eyes.

“If you two are going to waste my effort making your mornings incredible, at least behave yourself for a moment so I can get some sugar for my tea, yeah?”

Cass peeks out from behind me as I turn my head to see Jean steeping a bag of earl gray with a look of amusement. He moves to grab the sugar jar behind us but Cass intercepts him, hopping back onto the counter while simultaneously moving her arm into his way then wrapping her legs around me to ensure I can’t clear his path. Jean I exchange looks and she moves in for the kill, nibbling at his neck. He clamps her down between his neck and shoulder before moving away. “Sweet,” he remarks before smirking and raising his hand to reveal a sugar cube, then plopping it into his tea and taking a long, exaggerate sip. “Now let’s eat, hmm?”

We sit down, with Cass serving up the dishes while forcing me back to my seat while I try to help.
“Cass, I’ve been living her for a half year already. You don’t need to keep treating me like a guest.”
“Maybe I like spoiling you. Ever think of that?”

She leans in and sets her hand on my chest. “I’ll just have to be sure to give it a tough workout.” My heart jumps. A playful look flickers from her eyes and into the golden light reflecting off her hair. I can’t help but glance down her shirt at her breasts. She catches me and I blush.

Over three months ago, before my twenty second birthday, I came up with an idea for a story that dealt with some subjects I keep a bit close to my heart.

Initially, I wanted to create something full of dialogue in order to work on what I perceive to be a weakness of mine. In order to this I needed to populate the story with a few characters to interact with each other, as opposed to the more introspective or intimate character dramas I tend to focus on. As I created these characters and their situations I started to veer towards topics in my subconscious, bringing them out consciously to create a subtext to the story that I didn’t initially set out to create. The end result is a story focusing on a twenty one year old girl, her unorthodox living situation, and her interactions with the people around her. I specifically wrote the character from a female point of view because I’ve always felt uncomfortable doing so. That said, I didn’t want to simply write a character and make then slap her gender on. I didn’t want to create a story that focused entirely on the aspect of her either. What I wanted was simply to create a story with a dialogue around the character that would also give some insight into what it was like to live as her.

I eschewed a lot of the more detailed and poetic language that I typically use as well. It felt unnatural to do so if I was speaking from a character’s point of view. I used simple descriptions of actions, attempting to make them as direct as I could, and left out statements that I felt gave to much insight into a character’s mind or state instead opting to attempt to make that clear through the dialogue. While I’m unsure if I was able to create an illusion of personality for each character, the end result does feel much more eventful and interactive than my typical work.